Home  |  About Us  |  Contact  |  Social Media  |  News  |  Create  |  Develop  |  Refine  |  Protect  |  Invest  |  
The Total Image Group   ...Business Alchemists

A regularly updated resource of information and news items.

Posts Tagged ‘Design’

BEST GLOBAL BRANDS 2010

Posted Thursday, September 16th, 2010

Apple‘s brand value has increased by 37% but it has only charted at 17th place in this year’s annual Best Global Brands survey from Interbrand, way behind IBM, Google and Microsoft.

The company, boosted its brand through controlled messaging and an endless wave of buzz surrounding new product launches, but still failed to make the top 10.

It has recently come under heavy criticism in public perception due to problems with the iPhone 4 reception handset, leading to the offer of a free rubber casing for those who were dissatisfied with their purchase.

The brand barometer placed Coca-Cola as its top global brand, with technology brand IBM taking second place, Microsoft third and Google fourth.
BlackBerry made great gains with a 32% increase in brand value. At 54th place it is the most popular smartphone for business users, despite pressure from Apple as it edges into the corporate world.

The annual survey from the consultancy said that a number of brands had faced extraordinary crises in 2010 resulting in stalled growth and loss of value.

BP fell out of the ranking this year, on the back of the Gulf of Mexico disaster and its poorly received response.
BP‘s disaster and inability to produce results on its brand promise of “Beyond Petroleum” led to it falling off of the list. Worse, it saw competitor Shell emerge as the leading oil industry brand, now ranked number 81, up from number 92 in 2009.
Toyota still ranked a surprising 11th place despite the biggest product recall in its history, which caused the brand to lose 16% of its brand value as its long-standing reputation for reliability, efficiency and innovation took a serious knock.

During a difficult year for the auto industry, Mercedes Benz (12th place) and BMW (15th place) were able to sustain and build their value “through innovative design and a focus on delivering premium value vehicles with luxury features”.

Using customer feedback, largely drawn from YouTube, Flickr, Twitter and Facebook to launch the 2009 Fiesta, Ford at 50th place stood out as one of the best example of how to use social media. Award-winning products like the Q5 and rich heritage helped Audi to 63rd place with a 9% increase in its brand value.

In the financial sector, Citi (40th place) and UBS (86th place) lost double-digits in brand value, while Santander (68th place), Barclays (74th place) and Credit Suisse (80th place) made their debut on the list for the first time.

Their ability to stay true to brand promises in unsure times, and avoidance of the subprime mortgage crisis, helped them stay the course.

“2010 was the beginning of a long road back towards economic recovery,” said Jez Frampton, group chief executive at Interbrand.

“From real-time customer feedback through social media to increased transparency about corporate citizenship, brands were faced with a profound change in the way they relate to customers and demonstrate their relevance and value.

Despite this new paradigm of brand management, the advantages of building a solid brand remain the same.”

Despite the economic downturn, luxury brands Cartier (77th place), Armani (95th place), Louis Vuitton (16th place), Gucci (44th place), Tiffany & Co (76th place) and Hermes (69th place) all saw the value of their brands increase in 2010 by “continuing to invest in their heritage and legendary status.”

Last year’s survey saw financial brands take a hammering due to the global downturn, with internationally famous names such as Citi and UBS seeing the value of their brand slashed in half.


5 Small Biz Web Design Trends to Watch

Posted Thursday, August 12th, 2010

The importance of having an attractive website that converts visitors into buyers and helps cleverly promote your small business is essential in these fiercely competitive times.

Mashable, 10th August 2010

Your website has to capture a visitor’s attention, entice him or her to stay and browse around, create an interest in your product or service, and result in sales. For small businesses with limited time and budgets, design is an essential factor in both attracting and converting potential customers.

With this in mind, here are five current design trends that most small businesses can utilize to great effect.

1. Minimalism

While this web design style has been popular for some time, it’s worth revisiting as no small business owner wants to turn visitors away with a cluttered, overbearing and hard to navigate website.

Minimalist design effectively strips away the excess and helps the user concentrate squarely on the content. If a page has too many elements, the user will easily become confused about where to focus on, with many elements vying for attention.

With page weight now affecting your Google search engine position, it’s the perfect time to reassess how streamlined your design is.

There are several principles and steps you can follow to create a more minimalist design:

  1. Go through your site and prune any unnecessary widgets or elements which aren’t serving a real purpose.
  2. Make good use of whitespace, which is the space between different elements of a design. Used well, it will allow for easier scanning of your site and help frame the elements on each page.
  3. With fewer elements, choosing the right color palette or accent color is critical. As color has great significance and meaning, it’s best to test how certain colors interact with each other.
  4. Browse your site through the eyes of your visitors, evaluating if there is too much information, confusing or off-putting elements, or sufficient calls to action. Answering these types of questions truthfully will help you prioritize the essential elements.

A minimalist design doesn’t have to be bland and boring; it can easily be modern, fresh, sophisticated, elegant or refined, based solely on the details within the design.

2. Unique Photography

Two men shaking hands, a group of people in suits sharing a joke, the call center girl: these are all tired, clichéd images that litter thousands of business websites. These types of images fail to convey either information on the company or a sense of the site’s character, and are essentially meaningless.

Using custom photography or artwork whenever possible is recommended, though for small business owners, both time and budget are limited and stock photos are a relatively cheap and accessible resource.

So when choosing stock imagery, it’s best to keep in mind these four tips:

  1. Research your competitors and industry and take note of the images used. You can then find a unique way to represent your product or service.
  2. Avoid being too literal in your choice of imagery as abstract compositions often give a more dramatic and memorable effect.
  3. Don’t always opt for the cheaper low-res image, as pixelated imagery devalues your overall design and looks unprofessional.
  4. Veer away from the bland and predictable and let the images ‘break out of the box’.

Imaginative imagery will reinforce your brand message and add greater character to your website. So, when you must use stock imagery, do so with great care and take the time to find the right piece that will convey the true personality of your service or product.

3. Bold Typography

Web design at its core is about communication, and typography is a vital component of that. Great web typography helps bring order to information and creates a coherent, visually satisfying experience that engages the reader without their knowing.

A recent trend is the use of big, bold typography which helps to create contrast between other text while grabbing a user’s attention. Oversized text can help create hierarchy and ensure users understand your message loud and clear.

In order to utilize typography to create a bold statement, keep in mind the following tips:

  1. Determine the single most important message you want to emphasize, as too many messages can lead to choice paralysis. Understand the qualities of the message you are trying to convey, and then look for typefaces that embody those qualities.
  2. Choose a typeface that will match the character of your work. For instance, if your company embodies the feel of an Old Style font, you should consider Bembo, Garamond and Sabon. It will also greatly depend on what you want to convey with the type, because legibility is as important as the character of the type.
  3. Give the typography the prominent position it deserves by surrounding it with a generous amount of whitespace. This will add emphasis and create even more focus on the typography.
  4. Test out some of the various font replacement options such as Typekit or Typotheque. These allow you to license fonts to embed within your site, and help you to experiment with beautiful typography.

Typography is an art and the decisions you make are subjective; however, carefully selecting a typeface can make a huge difference to the quality of your design.

 

4. Clear Calls to Action

As a small business owner you want your visitors to complete a certain task when they land on your page. It could be to download, sign up or checkout, but these calls to action are one of the most important (and overlooked) elements in a small business website.

You want to grab your visitor’s attention and move him or her to take action. Crafting a clear, concise call to action is essential.

Here are four tips to keep in mind when designing a call-to-action button or advertisement:

  1. Language: Keep the wording short and snappy (always start with a verb), but also explain the value behind the action the user is taking. In some instances it also helps to create a sense of urgency using words such as ‘now’, ‘hurry’ and ‘offer ends,’ with ‘free’ being the number one incentive.
  2. Positioning: Ideally, calls to action should be above the fold, and be placed on every page of the site in a consistent position. For instance, Squarespace, not only has a large call-to-action button at the top of the page, but also has a slightly smaller button in the footer of every page.
  3. Color: The color should make the call stand out from the rest of the design. Brighter, more contrasting colors usually work best for smaller buttons. For larger buttons, you may want to choose a less prominent color (but one that still stands out from your background), so as to balance out its size.
  4. Size: The call-to-action button should be the largest button on any given page. You want it to be large enough to stand out without overwhelming the rest of the design

.

It’s vital you test different combinations of call-to-action buttons and see how each affects your conversion rates (see A/B Testing below). It’s also best to make sure they fit within your overall design.

  1. 5.      A/B Testing

With competition growing fiercer online, it’s important for small businesses to have a website that converts visitors to buyers and creates a competitive edge. That’s why it is important to continually measure and improve site performance, usability and conversions.

One of the foremost ways of optimizing your web design is via A/B testing (sometimes referred to as split testing). An A/B test examines the effectiveness of one landing page over another. The two versions are randomly shown to site visitors to see which generates the best results. You then evaluate the performance of each and use the best version.

Various elements can be tested, including, layouts, copy, graphics, fonts, headlines, offers, icons, colors and more. Here are a few tips for A/B testing:

  1. Clearly define your goal before beginning any test. For example, if you wanted to increase sign-ups, you might want to test the following: type of fields in the form, length of the form, and display of privacy policy.
  2. Start with elements that will have the biggest impact for minimum effort. For instance, you could tweak the copy on your checkout button to see if conversions can be improved.
  3. Don’t use A/B testing in isolation as this alone won’t give you a well-rounded picture of your users. Instead, use other feedback tools, such as Feedback Army or User Testing, in conjunction with A/B testing to get in-depth analysis of user behavior.

A/B testing won’t make a bad design great, but it will prove an effective aid in optimizing your current design’s usability and conversions until you decide to overhaul your website design completely.

These are just five web design trends that small businesses can take part in to enhance their websites. Which web design changes would make the most sense for your small business?


Using Design to Drive Innovation

Posted Friday, December 11th, 2009

Designers must deliver the orchestration of the total experience with a brand, product, or service or face irrelevancy

Businessweek, June 29 2009

In a previous era, all the talk was of strategy, strategy, strategy. More recently, it’s been innovation, innovation, innovation. As design thinking seems poised to sweep away some of today’s celebrated innovation practices, we must be wondering what new provocation is on the horizon. Relax, I’m not planning to conjure one up.

For those of us on the design consulting side of the business, it has not exactly been a smooth ride lately. But then again, I can’t say that I ever remember it being all that smooth, even when the demand for all forms of basic design and new production capability was sky-high.

Having lived one career on the corporate design side of the consumer-products industry and now a good part of another on the consulting side, I’ve seen the ascendancy of design as a profession and the movement of design toward business competency. At the outset, designers were about style and the creation of bright shiny objects, and we dutifully manned our post at the last decoration station on the way to the marketplace.

Today, there are arguably two design strategies in the marketplace. You either succeed as the low-cost producer, or you successfully differentiate your offering by design in a relevant, meaningful way that is valued by shoppers, consumers, and sellers. As such, the theoretical role of design in business is relatively uncomplicated and straightforward.

Design in Business
The complications come with these two questions: Where does the core idea around a differentiated, relevant, valued offering come from? And what is its relationship to this thing we used to call design? You know—the bright shiny objects.

In our practice, we refer to the former as innovation strategy, and to the latter as design strategy. Somewhere in between resides the opportunity for brand strategy, and we hope to create a system in which there is a seamless flow from ideas to brand meaning and, finally, to how that brand or product or service is expressed and communicated.

Putting all three aspects of this brand-building practice together provides validity in thinking about design as one of the primary idea generators for the creation of viable business platforms. Assuming that the manifestation of a business offering is realized in the context of a brand, that brand requires meaning, a defined expression, and then, given some success, a plan for continued opportunity development that sustains and grows the business.

How to Innovate
True innovation requires the adoption of a belief system that sometimes must prevail in the face of other data metrics. Read up on the great inventions and business wins and you will note that at the core of most of them lie belief, dedication, and the passion to succeed.

Today’s business leaders are often too afraid to move ideas forward without ironclad data proofs that they will be successful. All too often, they are the losers. Use your head, listen to your heart, and feel what’s in your gut.

As long as the human spirit and the marketplace lives on, I’m sure we will be inventing and innovating. Innovation is the commercial side of discovery and invention. Change is a huge driver of both discovery and invention. The world changes around us and we discover new things and we observe change and invent new things to deal with change.

If designers are content to function as purveyors of bright shiny objects, they will likely fade into obscurity. On the other hand, if they step forward and deliver the orchestration of the total experience with a brand, product, or service in the context of our changing environment, their future, too, looks bright.


Perhaps the largest single design project conducted by Virgin Atlantic Airways in recent years is the design of the company’snew Upper Class Suite. Introduced in response to a direct competitor action (BA’s introduction of the first fully flat aircraft seat-bed), the Upper Class Suite was a totally new concept in aircraft interior design and was designed, engineered and brought into production in only 36 months

Posted Thursday, August 27th, 2009

Design Council

The original requirement for the Upper Class Suite was simple: Virgin Atlantic needed to introduce a flat bed into its upper class cabins. Joe Ferry, Head of Design and Service Design, and his team began by exploring a wide range of different configurations, including the use of seats with separate sleeping areas. Eventually they settled on the concept of a seat and a bed that were in the same space, but separate entities.

During the early concept phases Ferry and his team also spent considerable time with Virgin Atlantic‘s management discussing different seat design features and assigning relative priorities to each, so decisions could be made on what to include and what to remove from the final design.

As concepts developed, the team worked with Virgin Atlantic’s engineering function to understand whether particular concepts would be acceptable under safety and airworthiness regulations. It also brought in its first external support – in the form of Design Q, an automotive design consultancy used for its layout design and model making skills, which could help to produce 3D concept models to assist with evaluation.

At the end of this initial phase, Ferry and his team presented their concepts to the board, which gave the project the green light to move forward to the Design Development stage.

From concept to prototype
Once the overall concept was evolved, Virgin Atlantic began to involve more specialist outside design support, including a structural engineering firm to assist with the mechanical design of the new seat and to ensure compliance with the very stringent aircraft safety specifications. They also brought in furniture design specialist Pearson Lloyd, after briefing the agency to produce a hypothetical concept for a competitor product to understand its design language and style.

Ferry emphasises that the Upper Class Suite experience is a holistic approach covering much more than just the seat design, involving not just the cabin ambience but also associated service elements including limousine pick-up, in-flight massage and a range of dining options. The company brought in additional specialists during the design process to achieve this.

Another design agency, Softroom, was used to develop a concept for the whole interior ambiance and specialist lighting design consultancy DHA assisted with illumination concepts.

Pearson Lloyd used its own ergonomic experience to optimise the comfort of the seat concept and used ergonomic data that Virgin Atlantic Airways had commissioned from Qinetiq. Within 12 months the team had built a full-scale dynamic prototype seat for evaluation purposes.

The prototype Upper Class Suite business case was approved by Virgin Atlantic’s executive board and the seat design then underwent an extensive evaluation process. Members of cabin crew were seconded onto the design team to evaluate usability from a crew point of view and frequent flyers even came in to sleep in the test seat at Virgin Atlantic’s HQ. These extended test sessions were augmented by shorter review sessions in which the company’s top 50 passengers would come and assess the new design. Such user evaluation was important, says Ferry, but must be treated with caution as passenger feedback – which can be limited in so far as consumers are only able to react to what they have already experienced – won’t ‘take you to the next level.’

Manufacture
Once the board had approved the seat design, The Virgin Atlantic design team turned its attention to the manufacture of the seat. At this point in the process, input from external design consultants stopped: Virgin Atlantic and the consultants recorded the agreed design in a Detailed Design Specification Document and through it Ferry and his team became ‘guardians of the design’ throughout the engineering and manufacturing process. Here again, the availability of a working concept model was extremely useful, as without it, says Ferry, ‘the manufacturers would have said, “It can’t be done”.’ Manufacturing engineering took 24 months and at the same time the Virgin Atlantic design team conducted an extensive value engineering programme, looking for opportunities to reduce costs without affecting user perception of the product by, for example, ensuring that the leather seat cover designs make maximum possible utilisation of a single hide. The Upper Class Suite was delivered to aircraft in late 2003. Virgin Atlantic continues to use a similar process on other projects and is just completing a redesign of its Premium Economy class cabin.


How design can help your business perform more strongly

Posted Friday, August 7th, 2009

When times are tough and revenues are falling there may be a temptation for business to cut ‘discretionary’ budgets – money allocated to activities such as design, perhaps.

But design is a powerful tool in a downturn.

Design Council
Our research shows that more than half of the UK’s businesses:

  • …are looking to design their way out of downturn
    Over half (54%) of the firms in our survey thought design would contribute to a large or great extent in helping maintain their competitive edge in the current economic climate.
  • …think design is more important now
    Similarly, 53% thought that design had become more important in helping the firm to achieve its business objectives over the last three years.
  • …think design is integral to the economic performance of the UK
    The same number agreed or strongly agreed that design is integral to the country’s future economic performance.

Fortunes can change for any business – large or small – sending a once successful and thriving operation into decline. Shifts in the economy, in consumer sentiment or changes in the marketplace are just a few of the factors that might leave a company in trouble and unsure how to get back on track. Even mighty corporations such as McDonald’s or entire industries like the Swiss watch industry have fallen foul of changes in the market, but both responded through an investment in design and innovation which helped to turn their fortunes around.

What can design do?

There are many ways design can help your business perform more strongly, from improving your image (internally and externally), innovating your products or services, through to enhancing your overall efficiency and saving you money.

Companies of different sizes and from different sectors have worked with designers to improve their performance during challenging conditions.

Castle Rock Brewery
Competing in the competitive real ales market is tough. Castle Rock Brewery in Nottingham brought in designers The Workroom to give its communications and graphics a more professional edge. Demand is now outstripping supply and the company’s barrel sales growth has doubled.

Thistle Hotels
The rise of value chains has meant that hotel groups in the traditional mid-market have suffered. Thistle Hotels is using an image overhaul by designers Navyblue to spearhead a multimillion-pound refurbishment and service improvement programme, and visitor numbers are already rising.

McCain’s
Frozen food company McCain suffered badly following a backlash against poor diets and rising obesity, so it worked with designers Elmwood to rethink the way its packaging speaks to shoppers in supermarkets, promoting the product’s natural ingredients and low fat. Sales have since blossomed to record levels.

HMV
High street music specialist HMV has had to react to massive changes in the way its customers buy music and video titles since the arrival of digital files and the internet. It used design to create a next generation store and whole new brand proposition. Sales at a trial store jumped by 25 per cent.

Ian Macleod Distillers
Scotch whisky drinking is in decline. So family company Ian Macleod Distillers employed designers to create packaging for its new Smokehead whisky aimed at bringing younger consumers to the whisky market. Sales have doubled since launch in 2006.

Design beats the blues

During hard times investment in design can give a business a competitive edge over rivals who are reining in their design and innovation budgets in order to save money. As American Express chief executive Ken Chenault told Fortune Magazine: ‘A difficult economic environment argues for the need to innovate more, not to pull back.’ Similarly, in September 2008 following a crisis in the global financial markets and in the face of an impending worldwide recession, Intel‘s chairman Craig Barrett told Reuters that investment in the company’s products and innovation remained very much on track. ‘We’ve always had the attitude that you have to make that investment in good times and bad,’ he is quoted as saying.

While American Express and Intel are global businesses, with dedicated R&D and marketing functions, the same wisdom applies to a business of any size: when times are tough it is change, dynamism and vitality – not hunkering down quietly – which are the keys to success. And this is exactly where design can help.

As you can see in the case studies above, companies big and small are rising to the challenge of hard times through a conscious investment in design. Their decision to innovate – to rethink and regenerate their products, operations and image – can be taken by a company of any size and in any area. Design and brand strategy can help elevate a firm or its products from the ordinary, the tired or the predictable, demonstrating that the business is alive, dynamic and responsive. And in a declining market that just might make the difference between growth and collapse.

Famed for precision timekeeping since the late 16th century, Switzerland’s watch industry nevertheless ran into crisis during the mid-1970s when Asian companies began to take over the market with quartz crystal technologies. Battling recession at the same time, Swatch (then known as SSIH) became insolvent, forcing its creditor banks to take control. Eventually, in the mid-1980s, CEO Nicolas Hayek took the company private and started a design revolution which was to save the business and put Switzerland back in the vanguard of watch manufacturing.

Design was instrumental in this reinvention. A combination of product aesthetics and reengineering (which reduced costs) gave Swatch the edge, leading it to become the largest watch company in the world, rescued from the jaws of collapse. Launched in 1983, the first Swatch wristwatch was a slim model using only 51 components (versus a typical 91 or more) and was marketed at an affordable price with contemporary design and styling. According to Swatch, the product has gone on to become the most successful wristwatch of all time.

Swatch‘s gross sales reached approximately £3 billion in 2007, but Hayek also claims that the design strategies he developed for Swatch in the early 1980s led to the rebirth of the entire Swiss watch industry, regaining its leading position worldwide since 1984. Data bear this out, with Swiss watch exports growing from around £2 billion in 1986 to £7 billion in 2006, according to the Federation of the Swiss Watch Industry.

While the creation of luxury power boats for a global market may represent design for a wealthy minority, Sunseeker International’s success results from a dedication to design from the smallest beginnings, undertaken in the face of the decline of British shipbuilding.

Formed in the 1960s by brothers Robert and John Braithwaite in a single industrial unit in Poole Harbour, Sunseeker was initially a distributor of Scandinavian boats. But Robert Braithwaite believed there was a potential UK market and so designed and built his first boat. From that start, the company has doggedly maintained a priority focus on design, design management, technology innovation and bespoke building. This combination has helped Sunseeker grow from its single unit to encompass seven sites and a million square feet of production space.

Believing that design is a vitally important part of this success, Sunseeker employs exterior and interior designers to work alongside engineering design, yacht styling and production teams, as well as with customers. It reinvests around 6 per cent of turnover in research and development. This has led to truly global success from a UK base: designed and manufactured in Poole, around 99 per cent of Sunseeker’s boats are now sold to the export market.


The power of branding: a practical guide

Posted Wednesday, July 29th, 2009

What do we mean by the word ‘brand’?

Design Council, updated 06 April 2009

The words brand and branding are thrown around liberally by all sorts of people in different contexts and with different meanings in mind, so it may help to start by asking ‘what exactly is a brand?’

The simplest answer is that a brand is a set of associations that a person (or group of people) makes with a company, product, service, individual or organisation. These associations may be intentional – that is, they may be actively promoted via marketing and corporate identity, for example – or they may be outside the company’s control. For example, a poor press review for a new product might ‘harm’ the product manufacturer’s overall brand by placing negative associations in people’s minds.

To illustrate the idea, let’s take what is arguably the best-known product – or brand – in the world: Coca-Cola.

Although essentially just a soft drinks product, Coca-Cola the drink is eclipsed by the sheer might of Coca-Cola the brand. This phenomenon is best summed up by the following quote from a Coca-Cola executive:

‘If Coca-Cola were to lose all of its production-related assets in a disaster, the company would survive. By contrast, if all consumers were to have a sudden lapse of memory and forget everything related to Coca-Cola, the company would go out of business.’

In a 2007 survey of the value of global brands by branding agency Interbrand, Coca-Cola‘s brand equity was valued at US$65.3bn, just under half the company’s true market value.

So what are these all-powerful associations? For Coca-Cola, typical perceptions might be that it is the original cola drink (‘The Real Thing’), that its recipe is secret and unsurpassed, that it’s all-American or maybe global, that it’s youthful, energetic, refreshing and so on. Visual associations might include the unmistakable red and white logo and corporate colours, or the unique shape and tint of the original glass bottles.

These are mostly positive brand associations, but there may be negative ones too. For example, Coca-Cola may be seen as unhealthy, or as a symbol of global ‘imperialism’ by American brands. What is seen as a positive association to some may be unpleasant to others and negative perceptions could become attached to a brand‘s identity even if the company strives to present a different character.

Of course, brands aren’t limited to the food and drink category. If a brand is just a set of associations then practically anything could be said to have a brand, even individuals – think Simon Cowell or Gordon Ramsay.

Ramsay’s own brand is so strong, in fact, that in 2007 he leant his weight to a major advertising campaign by Gordon’s Gin. He was chosen not just because of his name, but because his association with a sense of quality and exclusivity mirrors the drinks manufacturer’s own brand values.

Other high-profile examples of recognised brands include JCB, British Airways, Tate, Yahoo, The Big Issue or even London. From services to cities, products to publications, each carries a strong set of associations in the minds of a large number of people.

What is branding?

If a brand results from a set of associations and perceptions in people’s minds, then branding is an attempt to harness, generate, influence and control these associations to help the business perform better. Any organisation can benefit enormously by creating a brand that presents the company as distinctive, trusted, exciting, reliable or whichever attributes are appropriate to that business.

While absolute control over a brand is not possible due to outside influences, intelligent use of design, advertising, marketing, service proposition, corporate culture and so on can all really help to generate associations in people’s minds that will benefit the organisation. In different industry sectors the audiences, competitors, delivery and service aspects of branding may differ, but the basic principle of being clear about what you stand for always applies.

For the full article see: http://www.designcouncil.org.uk/en/About-Design/Business-Essentials/The-power-of-branding-a-practical-guide/


When rebranding can come back to haunt you

Posted Saturday, May 30th, 2009

To some, Santander‘s decision to rebrand Abbey and its other UK retail banking operations under a single banner marks yet another regrettable example of global businesses squeezing out local differences. To others, the move is just good business by the Spanish banking group as at least one of the brands – Bradford & Bingley – is fatally stymied by failure and government rescue.

The Financial Times, May 27th 2009

Aviva is another financial services operator which is currently spending millions advertising its original Norwich Union brand out of existence. Mergers, takeovers, disasters and transformations in the nature of business all provide justification for corporate rebranding. The rebirth of Guinness and Grand Metropolitan in 1997 under the Diageo banner and BTR Siebe as Invensys in 1999 are examples.

But companies introducing or extending their brands do so at their peril.

Abbey itself, then under Luqman Arnold, chief executive, was forced into an embarrassing U-turn over the pastel-coloured, lower-case livery of its identity when it dropped the “National” from its name in a £11m rebranding in 2003. It soon reverted to a branding style close the Abbey National original.

British Airways also found itself at the centre of controversy when as part of a £60m rebranding in the 1990s it ditched its Union Flag tail-fins in favour of a range of multicultural designs which it was eventually forced to abandon.

Most embarrassing, perhaps, was the case of Royal Mail, which under the leadership of John Roberts followed the trend of adopting a Latinate name, Consignia, to distance its post office service from its old-fashioned, public sector roots. Mr Roberts explained that Consignia described “the full scope of what the Post Office does in a way that the words ‘post’ and ‘office’ cannot”. Within two years, the name was gone.

But Latinate names such as Aviva are thought to work well in being understood and recognisable in globalised markets, and have also been adopted by companies such as Andersen Consulting which renamed itself Accenture in 2001. At least Accenture did not suffer the ridicule heaped upon PwC when its consultancy arm was briefly rebranded Monday – to signify the excitement of the weekly return to work.

And the subsequent demise of its former namesake Arthur Andersen in the wake of the Enron scandal made the name change particularly fortuitous.

Coca-Cola was also hit by a consumer backlash in 1985 when it rebranded its main cola line simply as “New Coke” – but was forced to retreat within months.

In spite of consumer complaints, some great British brands have been consigned to the marketing dustbin of history. Marathon and Opal Fruits now sell under their global names of Snickers and Starburst.

The imposition of a Spanish name on 25m UK banking customers may well pass without too much comment. But Mitsubishi found itself embarrassed when it introduced its “Pajero” – or Pampas cat – SUV model in the 1980s.

The name, a pejorative term in some Spanish-speaking countries, forced Mitsubishi to rebrand the car – known as the Shogun in UK – as the Montero in Spain and Latin America.


Global Brands

Posted Tuesday, May 12th, 2009

BusinessWeek/Interbrand rank the companies that best built their images – and made them stick.

Advertisers who want to reach the Bublitz family of Montgomery, Ohio, have to leap a lot of hurdles. Telemarketing? Forget it – the family of five has Caller ID. The Internet? No way – they long ago installed spam and pop-up ad blockers on their three home computers. Radio? Rudy Bublitz, 47, has noncommercial satellite radio in his car and in the home. Television? Not likely – the family records its favorite shows on TiVo and skips most ads. “The real beauty is that if we choose to shut advertising out, we can,” Rudy says. “We call the shots with advertisers today.”

BusinessWeek, August 1, 2005

The Bublitzes and other ad-zapping consumers like them pose an enormous challenge these days to marketers trying to build new brands and nurture old ones. To get a reading on which brands are succeeding – and which aren’t – take a look at the fifth annual BusinessWeek/Interbrand ranking of the 100 most valuable global brands. The names that gained the most in value focus ruthlessly on every detail of their brands, honing simple, cohesive identities that are consistent in every product, in every market around the world, and in every contact with consumers. (In the ranking, which is compiled in partnership with brand consultancy Interbrand Corp., a dollar value is calculated for each brand using publicly available data, projected profits, and variables such as market leadership.)

The best brand builders are also intensely creative in getting their message out. Many of the biggest and most established brands, from Coke to Marlboro, achieved their global heft decades ago by helping to pioneer the 30-second TV commercial. But it’s a different world now. The monolithic TV networks have splintered into scores of cable channels, and mass-market publications have given way to special-interest magazines aimed at smaller groups. Given that fragmentation, it’s not surprising that there’s a new generation of brands, including Amazon.com, eBay, and Starbucks, that have amassed huge global value with little traditional advertising. They’ve discovered new ways to captivate and intrigue consumers. Now the more mature brands are going to school on the achievements of the upstarts and adapting the new techniques for themselves.

So how do you build a brand in a world in which consumers are increasingly in control of the media? The brands that rose to the top of our ranking all had widely varied marketing arsenals and were able to unleash different campaigns for different consumers in varied media almost simultaneously. They wove messages over multiple media channels and blurred the lines between ads and entertainment. As a result, these brands can be found in a host of new venues: the Web, live events, cell phones, and handheld computers. An intrepid few have even infiltrated digital videorecorders, devices that are feared throughout the marketing world as the ultimate tool for enabling consumers to block unwanted TV ads.

Some marketers have worked to make their brand messages so enjoyable that consumers might see them as entertainment instead of an intrusion. When leading brands are seen on TV they’re apt to have their own co-starring roles – as No. 9 Toyota Motor Corp. did in reality show The Contender – rather than just lending support during the commercial breaks. All are trying to create a stronger bond with the consumer. Take No. 41 Apple Computer Corp., which last fall launched a special iPod MP3 player in partnership with band U2. Not only did the “U2 iPod” say “U2″ on the front and have band signatures etched into the back, but the band starred in a TV ad and buyers got $50 off a download of 400 U2 songs. No. 8 McDonald‘s Corp.’s sponsorship of a tour by R&B group Destiny’s Child means that fans who want access to exclusive video and news content about the band have to click first on the company’s Web site. “It’s hard here to tell where the brand message ends and where the entertainment and content begins,” says Ryan Barker, director of brand strategy at consultancy The Knowledge Group.

It’s no accident that most of the companies with the biggest increases in brand value in the 2005 ranking operate as single brands everywhere in the world. Global marketing used to mean crafting a new name and identity for each local market. America’s No. 1 laundry detergent, Tide, is called Ariel in Europe, for example. The goal today for many, though, is to create consistency and impact, both of which are a lot easier to manage with a single worldwide identity. It’s also a more efficient approach, since the same strategy can be used everywhere. An eBay shopper in Paris, France, sees the same screen as someone logging in from Paris, Texas. Only the language is different. Global banks HSBC, No. 29, which posted a 20% increase in brand value, and No. 44 UBS, up 16%, use the same advertising pitches around the world. “Given how hard the consumer is to reach today, a strong and unified brand message is increasingly becoming the only way to break through,” says Jan Lindemann, Interbrand’s managing director, who directed the Top 100 Brands ranking.

Possibly no brand has done a better job of mining the potential of these new brand-building principles than Korean consumer electronics manufacturer Samsung Electronics Co. Less than a decade ago, it was a maker of lower-end consumer electronics under a handful of brand names including Wiseview, Tantus, and Yepp, none of which meant much to consumers. Figuring that its only shot at moving up the value chain was to build a stronger identity, the company ditched its other brands to put all its resources behind the Samsung name. Then it focused on building a more upscale image through better quality, design, and innovation.

Beginning in 2001, the newly defined Samsung came out with a line of top-notch mobile phones and digital TVs, products that showed off the company’s technical prowess. By vaulting the quality of its offerings above the competition in those areas, Samsung figured it could boost the overall perception of the brand. Besides, consumers form especially strong bonds with cell phones and TVs. Most people carry their mobile phones with them everywhere, while their TV is the centre of the family room. “We wanted the brand in users’ presence 24/7,” says Peter Weedfald, head of Samsung‘s North American marketing and consumer electronics unit.

Now that strategy is paying off. Over the past five years, No. 20 Samsung has posted the biggest gain in value of any Global 100 brand, with a 186% surge. Even sweeter, last year Samsung surpassed No. 28 Sony, a far more entrenched rival that once owned the electronics category, in overall brand value. Now, in a nod to Samsung, Korean electronics concern LG Electronics Inc. has followed its rival’s playbook. Cracking this year’s global list for the first time at No. 97, LG has also sought to elevate its product under a single brand led by phones and TVs.

Some of the older brands in our ranking are clearly struggling to remake their marketing and product mix for a more complex world. This year’s biggest losers in brand value include Sony (down 16%), Volkswagen (down 12%), and Levi’s (down 11%). VW acknowledges its brand value slippage. “Volkswagen is well aware of the current deficiencies,” says VW brand chief Wolfgang Bernhard. Sony, which disputes that it is losing brand value, has suffered from an innovation drought. The electronics giant pioneered the Walkman, but left Apple to revolutionize portable MP3 players, as well as digital downloading and organizing of music. Meanwhile, Sony‘s moves into films and music put it into areas where its brand adds no value. Worse, those acquisitions made Sony a competitor with other content providers. That, notes Samsung‘s Weedfald, gives his company an advantage in linking to the hottest music and movies. Samsung, for example, is lead sponsor of this summer’s much-hyped movie, Fantastic Four, in which a variety of Samsung gadgets play a part. VW faces different problems. It has attempted to move upmarket with the luxury Touareg sport-utility vehicle and Phaeton sedan models; but that has left car buyers, who associate VW with zippy, affordable cars, confused. Similarly, Levi’s introduction of its less pricey Levi’s Signature line in discount stores means it now competes on price at the low end, while trying to fend off rivals like Diesel at the upper end with its core “red tab” brand.

Of course, defining the essence of a brand is only part of the battle. Communicating it to the consumer is the other. On this front, there has clearly been a divide between newer brands that use traditional advertising as just one tool in an overall marketing plan and older ones that grew up with it. Sony, for example, far outspends Samsung on traditional advertising in the U.S. on electronics products. (Samsung advertises on TV only during the last six months of the year, its peak sales period.) Many young brands that scored big gains in value, like Google, Yahoo!, and eBay, depend on their own interactive Web sites to shout about their brands.

Now some older brands, like Coke, ranked No. 1 in overall brand value, and McDonald‘s are decreasing traditional ad spending. In the past four years, McDonald‘s has cut TV advertising from 80% of its ad budget to 50%. Most of the shift has gone to online advertising. What’s evolving, then, is a model in which most brand builders use a variety of marketing channels. HSBC has branded taxis to carry customers for free. And although eBay spends most of its marketing budget on Internet advertising, it also relies on TV to some extent to boost simple brand awareness. “With fragmentation and ad evasion, you can’t count on one medium,” says Tom Cotton, president of Conductor, a branding strategy firm.

Marketers who do turn to TV are trying to make brand messages as engrossing as the programming. Last year Toyota, whose brand value rose 10%, paid $16 million to have its vehicles be part of the storyline on NBC reality show The Contender, about small-time boxers competing for a nationally televised bout. The grand prize: a million dollars and a Toyota truck. Rival Nissan, up 13%, has been parking its Titan pickups on Wisteria Lane in hit ABC show Desperate Housewives. The trucks will also ride into the new Dukes of Hazzard movie this month.

Nor are TV and movies the only target. No. 1 Coke, McDonald‘s, No. 88 Smirnoff, No. 16 BMW, No. 23 Pepsi, and No. 61 KFC are among brands striking deals to plant their brands in video games and even song lyrics. Deborah Wahl-Meyer, who headed Toyota marketing until recently moving to the company’s Lexus division, says both divisions attempt to seed magazine and newspaper articles with vehicle references and pictures. “We have to be more a part of what people are watching and reading instead of being in between what people are watching and reading,” Meyer says.

In an echo of Procter & Gamble Co.’s creation of the soap opera on radio and then TV, some brand builders are taking control of the programming themselves and creating content that tries to draw in ad-allergic consumers. BMW, whose brand value rose 8% over the past year, turned out a series of popular short films on the Internet starting in 2001. The seven-to-ten minute films starred BMW cars and were produced by A-list Hollywood directors like John Woo. The German auto maker has moved onto comic books based on the films aimed at Bimmer-aspiring teens and adults alike. “It’s imperative to create media destinations that don’t look like advertising,” says James McDowell, who headed marketing for the BMW brand before recently taking over as chief of the parent company’s MINI USA business. BMW has also embraced the enemy, TiVo, the television-top gadget that consumers use to skip ads altogether. Since last year, BMW has produced short films and long-form ads accessible through TiVo’s main menu page. BMW fans are alerted to the films in the on-demand video menu when a BMW ad runs.

Such old-line brands as No. 14 American Express Co. are heading down the entertainment path, too. Tipping its hat to BMW, AmEx ran long-form Internet ads/films starring Jerry Seinfeld last year that succeeded in drawing consumers to its Web site and Webcasted concerts. AmEx Chief Marketing Officer John Hayes says flatly: “Brands are not being built on [traditional] advertising.”

Still, none of these marketing ploys are sure bets in a world where old-school advertising means less. That’s why more marketers are investing in design as a fundamental way to distinguish their brands and to stay on the leading edge of technology. “Design isn’t just the promise of a brand, like TV advertising – it’s the reality of it,” says Marc Gobe, chief executive of design consultancy Desgrippes Gobe. Samsung has tripled its global design staff to 400 over the past five years. No. 73 Motorola, whose brand value rose 11%, and No. 53 Philips Electronics have boosted design spending. The move sparked the launch of Motorola‘s hot-selling Razr phone, the thinnest flip phone ever made. No. 85 Nissan gained 13% last year on a wave of bold designs, like its curvy Murano SUV and Altima sedan, as the Japanese company differentiates itself from Toyota and Honda through design rather than quality.

Good design implies more than just good looks. It’s also about ease of use. Apple demonstrated this with its iPod. Users can pick songs or download music from the iTunes music bank with the swipe of a finger. That’s blunted sales of Sony‘s Walkman MP3 player, which has been criticized as too cumbersome. Design can also mean sound. Samsung insists that all its products make the same reassuring tone when turned on. The Samsung tone is even being used in some advertising. “We want to have the same sound, look, and feel throughout our products so it all works toward one Samsung brand,” says Gregory Lee, Samsung‘s global marketing chief.

The era of building brands namely through mass media advertising is over. The predominant thinking of the world’s most successful brand builders these days is not so much the old game of reach (how many consumers see my ad) and frequency (how often do they see it), but rather finding ways to get consumers to invite brands into their lives. The mass media won’t disappear as a tool. But smart companies see the game today as making bold statements in design and wooing consumers by integrating messages so closely into entertainment that the two are all but indistinguishable.


Without limits: The weird and wonderful world of fantastical one-off design

Posted Tuesday, May 12th, 2009

What happens when top designers are given the freedom to create whatever they want? Something weird and wonderful, says Sophie Lovell
The Independent, Saturday, 25 April 2009

What we need is obvious, says the great German industrial designer Dieter Rams: “Less but Better” – less junk, less pollution, less waste, fewer “things” altogether and in their place, better, more refined, essential tools for living. And of course he is right. So why do we need new chairs that we can’t sit on, conceptual artefacts that serve no obvious purpose and strange remixes and hybrids? In order to find new solutions designers need to experiment. Now, more than ever, they need to question every given, test every avenue and challenge all our preconceptions if they are to help find new ways of moving forward.

The realm of design, like many other disciplines, is now challenged to fulfil an increasing number of roles: to keep up with new materials; to facilitate our increasing technological dependence; to help make the world a better and more sustainable place, yet also balance all that out with the demand for the trophies of conspicuous consumption and an unquenchable desire for novelty.

Many designers think of themselves as explorers, testing the boundaries of materials, processes and mediums. They are committed to experimentation, and a growing band of gallerists, patrons and curators are nurturing these experiments in the form of one-offs, prototypes or limited editions. Thus the most fascinating innovations in design are now coming from an unexpected quarter: where it brushes against… the realm of art, and of conceptual art in particular. These pioneering individuals are asking some big questions. What is design? What does it mean to call oneself a designer? What are the roles of objects and products? If design is to provide so many solutions, where does it have to go to find new answers?


 
©2014 The Total Image Group
Home  |  About Us  |  Contact  |  Social Media  |  News  |  Create  |  Develop  |  Refine  |  Protect  |  Invest
The Total Image Group Ltd is a company registered in England and Wales with company number 02595342
The company's registered office is Willow Corner, 7 Ackrells Mead, Little Sandhurst, Berkshire, GU47 8JJ